Hi everyone! I got married and took some time to rest and read and sleep and watch Hunting Wives. This week my movie is starting previews in theaters, and we’re showcasing the Detroit-based film team of Band on the Run for Work in Progress. They shot in nine days, the film is now out, and it’s a indie band meets indie film gem.

We’ll hear from Jeff Hupp, who co-directed alongside Brian Cusac and Merritt Fritchie. The film grew out of Jeff’s personal story—back in 1999, he was a struggling Detroit musician caring for his mother as she faced late-stage MS. When his band landed a coveted South by Southwest slot, Jeff made the trip with her blessing, only to return home and see the band dissolve. Years later, after his mother’s passing, he kept asking himself a series of “what ifs”: What if he’d brought her along? What if they’d shared one last adventure together? Those questions became the heart of Band on the Run.

But before that…

I Really Love My Husband is coming to theaters.

After premiering at SXSW earlier this year, my micro-budget feature is getting a limited U.S. theatrical release. It continues to be a learning process, and there have been some hiccups that I will unpack with you soon. I spoke with the Director of Programming at LOOK cinemas, Shelby Schultz, on this week’s NFS and we had a super transparent conversation about how indie filmmakers can be approaching theatrical. I also spoke with the Jeff Graham on the Screenwriter Life series Indie Film Craft, and once again, found myself being open… maybe a little too open. But I’ll apologize later if I have to.

Preview Screenings with Q&A 🎟 Tickets here

• Sept 17 – Los Angeles (American Cinematheque at the Los Feliz 3)

• Sept 19 – New York City (LOOK Cinemas)

• Sept 20 – Washington, D.C. (LOOK Cinemas)

Opening Weekend

• Sept 26 – Tickets for Q&A screenings available now, with general screenings opening the week before.

Independent films thrive when people show up and spread the word. If you’re near one of these theaters, I’d love for you to join us, bring a friend, and help share the film.

🎟 Tickets & full schedule: https://linktr.ee/ireallylovemyhusband

WORK IN PROGRESS: BAND ON THE RUN

WORK IN PROGRESS deep dives one microbudget film with the filmmakers, in the process of making it.

What's the film about and what was your role?  

I wrote and directed Band on the Run as a semi-autobiographical Dramedy about my time playing in an indie band in the 90s, during the Detroit Garage Rock revival that broke our fellow Detroiters, The White Stripes.  Also in the 90s, I was dealing with my mother who was ill in the latter stages of MS, and the breakup of my family unit. So, years later during COVID, when thinking about a new script, I thought, "What would've happened if I would have taken my chronically ill parent on the road with the band when we went to South by Southwest?"

What was the first thing you actually did once you knew you wanted to make it?

I listened to a LOT of podcasts (this one included), and reached out to another Producer/Director who helped me organize my thoughts and ideas about the production. Then, I called my all my advertising friends, and we went at it!

How did you pull the team together? Who were your ride-or-dies on this one, and how did they come on board?

I've been in the Detroit advertising world for 20 years, and had some experience on advertising shoots. I wanted to incorporate all those production and creative folks from that world since I knew they were dying for some long form narrative work. My two ride or dies, Brian Cusac and Merritt Fritchie, both ad writers, were the first two people I called in to help me direct the film. They had written and been on sets for Super Bowl commercials. So yeah - they had the experience I did not, and I could not have done it without them! I took the lead on this one, and while I was shooting a main scene, they were off working on the next few scenes with talent, prepping.

What was your scrappiest solution during production?

Vehicle road scenes! I couldn't get affordable insurance to film those important road scenes on the actual road, so I did youtube research, and discovered ways to do it in-studio. It worked fantastically, and most viewers don't realize they weren't on the road.

Did anything totally unexpected shape the final version of the film?

Probably obvious, but our lead, Larry Bagby, who is an experienced actor-- "ICE" in Hocus Pocus and "Marshall Grant" in Walk the Line-- really shaped the performances of the young actors. They followed his lead, and really wanted to show Larry what they had. And they did. 

How did you keep momentum up between “I have an idea” and “I have a finished film”? 

I am known to be pretty driven-- it's kinda how I am wired. I am thankful that I really don't think about it that much, it's just who I am, for good and bad (I know I can drive some people crazy), so momentum was/is not difficult. I am also very in tune with my mortality. My mom and aunt both died from MS in their early 60s, and I was diagnosed with MS at 40, so I have some, how you say, "motivation" to get stuff done. I am thankful that I do not have any current symptoms (knock on wood), but the specter looms-- so I get to work!

How did you find distribution for Band on the Run and what advice can you share?

Finding distribution for your indie film can feel like trying to get your band signed. You send your demo out to a bunch of labels, get a few nibbles, and wonder if anyone actually listened to your songs or just skimmed the tracklist. That was me with Band on the Run. And let me tell you, there’s no magic formula for landing the right distributor, but there are a few things every indie filmmaker should consider before signing the deal. Here are my top five:

First, know your goals. Are you hoping for a limited theatrical release, a streaming debut, or just trying to get enough eyeballs so you can tell your uncle you’re “making it” in the industry? Clarity on your end makes it a lot easier to filter the serious offers from the smoke-and-mirrors.

Second, beware of red flags. Does the distributor promise big results but have no marketing plan? Do they pass expenses onto you with no caps in sight? Did they even watch your film? (you’d be surprised how many won’t.) And make sure you understand the payment timeline—some places make you wait forever for that first check.

Third, think about marketing. A distributor who can’t promote your film is like a record label that doesn’t push your single—what’s the point? Ask about their marketing reach, festival support, and how they plan to get your movie in front of the right audience.

Fourth, know your festival strategy. Festivals can open doors, but not all distributors care about laurels. Some won’t bother with fests unless they see a clear return on investment. Make sure you’re aligned on where your film could play, and how those screenings help your goals.

Finally, trust your gut. After a few calls, you’ll know who’s vibing with your film and who’s just going through the motions.

In the end, I went with Freestyle Digital Media because they actually watched Band on the Run and had the best terms for what I wanted to accomplish. They got the film, they got the music, and they were ready to help us share it. So yeah, it might feel like you’re sending out demos into the void, but if you keep playing the game, the right distributor will eventually pick up what you’re laying down.

For more info on Band on the Run, visit: www.bandontherunmovie.com